JOHNNY CHAZZ' TURN: COMMON "CASABLANCA"

JOHNNY CHAZZ: It is amazing how often the film “Casablanca” is brought up in casual or even serious film conversation over the years. To so many film-goers, “Casablanca” rates high on their list and more often than not in their top-3 of all time. The fact is that there is very little offered in the film in terms of cinematic, performance and technical greatness that allow it (in this critic’s opinion) to reach a top-100 list. Thus, the purpose of this week’s blog is not to destroy this great American film, but rather to try to put the film in perspective for what it really is.

Perhaps it is the idea that the film is simply in black and white. Perhaps it offers a glance into another world – a romantic and exotic one. Or, quite possibly it is the very fact that the film has become such a cliché that people simply slot it into their top-three list as a default. This is quite sad.

At its very essence, “Casablanca” always seemed, to me, to be lacking all the goodies that such great classic films (not only black and white) do. Prime examples might include films such as “Tokyo Story”, “Citizen Kane”, “8 ½”, “La Dolce Vita” and even the tremendous classic “Seven Samurai”. Performances in all of those films have real depth. To add, the storyline has not only substance, but real dimension as well as sub-plots. The screenplays are magnificent and take us through a journey that is not only realistic, but unpredictable.

I recall my grandfather and I sitting down one Sunday afternoon in 1989 to watch this movie and it was probably the second time I had seen it at that point. For him it was simply a trip to the past – a walk down memory lane re-visiting a film that once was. Perhaps that is exactly what defines this film: a nostalgic piece with touches of romance. What exactly is with this love affair with “Casablanca?”

Enjoy the original 1942 trailer

There are very few dramatic effects. The dialogue is plain and sappy and almost borderlines on juvenile. The sets are marginal and uninteresting – and they look like sets. The film just does not offer enough for this critic.

Come on down and visit the Cafe American!

“Casablanca” is really no better and simultaneously no much worse than any other film. In respect to many of the films we love and adore here on CINEMA: COUNTERPOINT, there really is no comparison and it simply does not live up to expectations or the hype. As I continue to impress over and over on COUNTERPOINT, the “screenplay” is 75% of a film’s success in terms of greatness and that percentage may be on the low-side. Great films have great writing – and it is really that simple. Take a look at the classic “Sunset Boulevard” which offers us a main character of a screenplay writer. Any job title could have been used to define the greatness and the potential downfall of American Cinema and the screenwriter was the tool of choice….brilliant!

The bottom line is that “Casablanca” simply does what any other marginal film does with the narrative. It is plot focused and remains linear through and through. This defines ‘dull’ and lacks creativity. Audiences want and crave more – so give it to them. “Casablanca” does not – and never will. Amongst them the fact that it is melodrama- driven by plot, not by character development. The characters simply react to everything that is said and their motivation is only a function of the last spoken. The film is a classic version of the domino effect shot in black and white.

Is the fact that the film takes place during wartime make it so terrific? If that is the case, then we must immediately turn our heads to the great war films of all time – and that list could be quite long beginning with the likes of “Gone With The Wind” (a better romance set in war time), “All Quiet on The Western Front” then moving to “Paths of Glory” (Kubrick), Coppola’s “Apocalypse Now” and even “Platoon” or “The Deer Hunter”. These films are not plot driven – it is the motivation of the characters and the world around them that drives the plot. So, what really is the plot in “Casablanca?” What is the point of the film?

There are countless flaws with the film, and the film only deserves this type of critique as it remains very “average” on this critic’s rating scale. I could list 300 films that could take the place of this one on an all-time list and I bet that our reading audience could do the same.



Dooley Wilson as Sam



“Casablanca” remains somewhat entertaining and is fun to visit from time to time and most of that is due to the notoriety that the film has received over the years. Perhaps the title track ‘As Time Goes By’ is the only area of the film that offers intrigue and a true memory. Still, this critic views the film “Casablanca” lacking originality, true purpose and vision. It has little effect on a shrewd and discriminating audience, and offers almost little in terms of personal growth and both artistic and cinematic value. Bogart and Bergman’s performances are also no better than what we have seen in their other films, and quite possibly worse. How often do we here the meaningless and juvenile line “Here’s looking at you, kid” in the film? It remains tiring and uninspiring.

Judge for yourselves CINEMA: COUNTERPOINT fans. I leave this portion now with my counterpart Jer and eagerly anticipate his reply.

JER: There is a lot to be said in the span of a few short paragraphs, J.C., but let me see if I can address each of the concerns and topics brought up.

To begin with, I am not a huge fan of CASABLANCA, but I have enjoyed it in the past and I could see myself watching it again very soon after I am done typing this up! I have come to respect the film for what it is over the years and that is what I am going to base my overviews on. For the reader, let me inform you of spoilers about the film, including the ending…proceed with caution…

Humphrey Bogart as Rick Blaine

The year is 1942 and the world is at war. The film takes place during the early part of the war in an unoccupied part of Africa. We are introduced to Rick Blaine (an immortalized role for actor Humphrey Bogart) who owns the hottest nightclub in Casablanca. The film, in my opinion, was an escape for war- occupied Americans having to deal with the harsh realities of the truth happening in their lives. Like many Americans in present day 2011, many had loved ones involved in the war during that time. To imagine a place that the Nazis had not taken over or stepped foot onto was a place of Zen.

The bubble is all too soon left to pop as Nazi Major Strasser steps into this little part of the world with his own suspicions. Underground Czech leader Victor Laszlo is detained by Strasser, when Rick discovers a passenger riding with Laszlo…his one- time love, Ilsa Lund (Ingrid Bergman). Rick is left to deal with many emotional thoughts, since she had left him in Paris… only to find out later that she had good reason to. 

Paul Henreid and Bergman as Victor & Ilsa

Spoiler: ‘Rick’s Café Americain’ worked as a front for many Europeans who were avoiding the Germans before heading towards America. The Café found a way to provide exit visas to people making their way out of the country…owned and operated by Rick himself. Rick is stricken with disbelief when he finds that Ilsa is now married to Victor, Rick still lends a hand to assist in their  escape…still hoping that her love for Rick would prevail. With Strasser on their tail, Rick gets the Laszlos off safely… it is here that Rick gives his famous speech to Ilsa to get on the plane and be with her husband since “we will always have Paris.” Rick is joined at the airport by Captain Louis Renault (Claude Rains) who invites him to join the Free French before more Germans arrive into Casablanca. As the fog roles in and the plane has taken off, it is at this classic moment that Rick turns to Renault with the final words, “Louis, I think this is the beginning of a beautiful friendship.”

Cheesy? Maybe…every cliché imaginable has been played and over- played in today’s world of cinema. Remember that the year of CASABLANCA’s release was 1942 and bare in mind that endings like this were unsuspecting and caused an emotional reaction when everyone hoped that Rick and Ilsa would reunite and ‘live happily ever after.’ This isn’t the way films like this are supposed to end. I think that its original approach to the storybook ending and flipping it around as it did, may have caused the rules of film- watching to change.

I can agree with JC, to a certain degree, about countless films that could have been listed before CASABLANCA in my list of favorites. The film carries a certain feel and mysticism about it. Perhaps it’s the exotic location of this hideaway in Africa… perhaps it’s the idea of romance and it being in the wrong place in the wrong time…or perhaps it’s the act of chivalry from Rick’s part to let his love, Ilsa, depart to safety with a man he can only hope will bring her joy and happiness in his own absence.

Contemporary films that have followed may have been better written, better acted and even better produced than CASABLANCA… there is no doubt about it. The key word, however, is contemporary. The newer films have re-written the way that films have been made. It would be completely unfair to compare the likes of ALL QUIET ON THE WESTERN FRONT to SAVING PRIVATE RYAN or PATHS OF GLORY with FULL METAL JACKET (both directed by Stanley Kubrick, I might add) so I believe that the same kind of level of unfairness might derive from comparing CASABLANCA to the likes of PLATOON, THE DEER HUNTER or APOCALYPSE NOW. Each of these films deserve the respect they demand for their continued greatness in storytelling, screenplay and production as much as CASABLANCA should receive its own…in its rightful placing on any film lover’s list.

JOHNNY CHAZZ: Some solid statements here Jer, and I can identify with a few of your angles on this. We do certainly have to keep in mind that it was released in 1942 and the emotional reaction caused by the film was formidable. Now, you mentioned the word "Cheesy"...my reply? "Yes" - and with conviction.

Still, romance and war as a genre was commonplace in film during this era and “Casablanca” was really nothing new. Mysticism? I think that only exists due in part to what we have been told growing up and how influenced some of us may have been by the idea that some movie-goers actually state that this was the greatest film ever.

Ingrid Bergman as Ilsa Laszlo

The performances are marginal for the time period and for these actors and the script are common and dull to say the least. There were countless films where Ingrid Bergman offered better performances ("Murder on the Orient Express", "Gaslight", "Spellbound" and "Notorious" would be prime examples). Additionally, the script borders on 'juvenile' and is full of one-liners to support it. Neither character seems believable in the film even though they are almost both cast as "heroes" per se, completely taking away from the film's realism. Simply put, the film was dummied-down for audiences - it was predictable, simply-written, the sets look like cardboard and the film (oh, excuse me....the movie) lacked any cinematic technique that was commonplace in virtually every other "outstanding film" at that time.

                                          Sam plays it again: "As Time Goes By"

Classic films (drama and war movies alike) that absolutely tower over Casablanca during that time period would include and most certainly would not be limited to: "Citizen Kane"; "All Quiet...."; "The Longest Day"; "Dr. Strangelove"; "The Third Man"; "Notorious"; "The Third Man"; "Bridge over River Kwai"; "Stage Door Canteen"; "The Best Years of Our Lives"; "Double Indemnity"; "Rebecca"; "It's a Wonderful Life" and "On The Waterfront".

In sum, "Casablanca" is pop-art in a sense. It lacks merit, is full of one-liners used to give it a spark and the performances are extremely dull. The point here being: Casablanca just does not live up to its hype and was very, very "common" for the time period and what we saw coming out of Hollywood. What is worse is how films today continue to copy and cliché the film over and over again. *** PICTURE POINTS: 6.5/10

Another blog topic is laid to rest with a return of JER’s turn coming at ya… as always we hope to SEE YOU NEXT WEDNESDAY!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JER'S TURN: ALL THAT IS..."THE ROCKY HORROR PICTURE SHOW"

JER: Greetings CINEMA: COUNTERPOINT readers… my counterpart, JOHNNY CHAZZ, has been feeling ‘under the weather’ this week… so I am picking up the pen and sallying forth with this week’s final entry for our October Halloween/ Horror topics!

I wanted to put the final nail into the coffin this month by touching on something fun and cultish! My ghoulish delights made me look into my vault of creepies and crawlies to have but one movie crawl up to the surface to reveal itself… this month I focus my attentions to THE ROCKY HORROR PICTURE SHOW!

Here is the original 1975 trailer!



Ebert & Siskel



The Soundtrack Album Cover

My curiosity and fascination with ROCKY HORROR started at approximately the age of 11 years old! I was a big fan of critics Roger Ebert and Gene Siskel’s PBS film review show “Sneak Previews” and I remember one episode was devoted to the growing cult phenomenon! The year had to have been 1981: the half hour focused on the music, clips from the movie and talks about the cult status and popularity amongst this low- budget flick. I had never heard of this ROCKY HORROR nor had its music or audience participation / cult building it had become. It was all very overwhelming to take in both the sights and sounds at that age. I was raised in a small town and wasn’t exposed to controversial or expressionistic art forms. Mind you, this was before internet and multi- channel cable or satellite television, so I had no idea of such sexual freedom of expression. I merely used “Sneak Previews” as a vehicle to keep myself updated of the latest films I needed to be schooled in. Without warning, songs like “Time Warp”, “Sweet Transvestite” and “I’m Coming Home” were just a few highlights I had seen on TV for the first time! Questions immediately flooded my naive mind...Why were men dressed as women? What was the purpose of the heavy make- up and scantily- clad costumes? What is a transvestite? I had to learn more about this…and learn I did!



Show Creator: O'Brien 

ORIGINS: Let’s ‘time warp” to the beginning: It was June 16, 1973 and writer Richard O’Brien debuts his musical play, THE ROCKY HORROR SHOW, at London’s Royal Court Theatre Upstairs. The premise of the storyline is simple… it was a tribute to B- films, the conservative dress fashions of the 50’s and 60’s, bad science fiction movies and iconic famous monsters with a touch of the good ol’ days of Elvis rock-n-roll music! The late 1950’s and early 1960’s presented a strong change in pop culture by movie, music and political viewpoints affecting all. The story is a simple yet twisted tale of the sanitized world of Nixon in the White House and the post FDR world of crew-cut hairdos and Frank Sinatra on the radio and the sudden crash into the neo- punk world of expressionism, gay pride and pop music on the jukebox that the 1970's would be known for. Almost a year later, March 19, 1974 to be exact, the show makes its first U.S. preview appearance at Hollywood’s Roxy Theatre on the Sunset Strip… playing for a strong 9 months!

Patricia Quinn as The Usherette- 1973

The buzz was blazing through Hollywood and soon a network of old theatre friends would soon come together for the adaption and principal photography of the motion picture version of the musical comedy stage show. Jim Sharman would be named as director and co-screenwriter along with O’Brien. The two had been associates back in the Royal Court Theatre days and collaborated to bring this unique show to the silver screen. Casting would take some of its original stage actors to reprise their roles in the film version. Amongst them: Tim Curry, Richard O’Brien, Patricia Quinn, “Little” Nell Campbell and Jonathan Adams from the London production and Meatloaf from the Los Angeles shows at the Roxy.



An audience doing the "Time Warp!"

 THE ROCKY HORROR PICTURE SHOW made its worldwide debut in August 1975 in London, shortly followed by its U.S. premiere on September 26, 1975 at the UA Westwood Theatre in Los Angeles, CA. After weak box office performances and hurtful critical responds, the film tries to continue to make its money by being placed as a midnight show for a more generalized crowd. The date is now September 1976 and audiences begin a run-on joke by heckling and yelling back to the offensively bad movie during certain bits. The rumor has it all  beginning when a scene in the general start of the film has the ‘narrator’ (The Criminologist- to the fans) inviting the audience “on a strange journey”… it was at this point that a patron yelled back, “how strange was it?” The rest, as they say, was history. Within a short period of time, various audiences tried topping each other with clever comebacks and yelling humorous replies back.

This was then followed by a strange assortment of various props used within the audience during the presentation. Specifically, these props are used at certain key moments of the film: these items most commonly used are water pistols (shot up in the air to assimilate rain), newspaper (to avoid the rainfall), rice (thrown during the opening wedding scene), toilet paper, party poppers, playing cards and so on and forth! 

Fans from the New York shows

 What could be left to do but take the next steps that have made this the experience to be experienced: dressing up as their favorite character in the film. Painstaking details in wardrobe, make- up, mannerisms, mimicking and karaoke- like singing and acting have taken on a life of its own and could no longer be contained within theater rows anymore! The final expression of love for the film has led performing groups onto the stage of the screen to reenact the movie in its entirety while it plays! Set props, backdrops, lighting effects and actors have taken over bringing the movie to a third and even forth dimension! ‘It’s astounding…’

  

Brad and Janet (awwwww)

The Crimiologist- An Expert!

 THE STORY: The Criminologist (Charles Gray) invites us to listen in on a bizarre case as he opens a book entitled The Denton Affair and begins to recall the events that took place in the little town of Denton, USA.  The story unfolds: Barry Bostwick and Susan Sarandon play Brad Majors and Janet Weiss, two ordinary young “square” adults living the American dream of college sweethearts planning a future marriage, kids and that house in the suburbs. After attending the marriage of one of their friends, Brad nervously pops the question as well with Janet’s enthusiastic approval. While driving on a ‘dark and stormy night’, a tire is blown- out to now have our stranded heroes walking to a castle close by in hopes of using their phone for assistance. Ignoring blatant warning signs (literally: “Enter At Your Own Risk”!) the soaked couple finally make it the doorsteps in hopes that someone is home. Upon awaiting reply to their plea, the door is eventually answered… expecting an upstart, well-to-do dressed in his smoke jacket and pipe… they are, instead, greeted by the castle’s ‘handyman’ Riff- Raff (played by creator Richard O’Brien).


"Let's do the Time Warp again!"

The couple are allowed into the castle’s foyer only to be informed that they had ‘arrived on a rather special night’. The housemaid Magenta (Patricia Quinn) agrees to how ‘lucky’ they are with their timing as the festivities are about to begin… this is where the point of no return is reached and Brad and Janet are taken into a world they would never have imagined! Their view of white- picket fences and moral values are quickly deconstructed as they are exposed to a world of perversion and sexual expression far beyond anything that their narrow- minded thoughts could ever be expected to perceive.

Let me show you how we do it in Transylvania!

 

"I see you shiver with antci----pation!"

The Master finally makes a grand entrance, as the evening’s celebration is in his honor! The appearance is both shocking and alluring, as we are introduced to the cross- dressed  Dr. Frank-N-Furter (Tim Curry), the ‘sweet transsexual from Transylvania.’ All are invited ‘up to the lab and see what’s on the slab’ as they ride an elevator to the castle’s laboratory. It is there that both the party’s guests and the uninvited couple are shown the reason for the occasion’s festivities… could the doctor have actually made a man just like Frankenstein’s monster? It seems as if he had, indeed, succeeded as the creature known as Rocky (Peter Hinwood) is brought to life before the eyes of the curious onlookers. Ah, but the good doctor has other ulterior motives for the creation of a man ‘with blonde hair and a tan’ as he would be best utilized for relieving the doctor’s ‘tension.’ The lesson learned from previous creations in such scenarios is that the beast can never be detained... as it takes on a liking to Janet, causing the doctor fuming jealousy. Columbia (Nell Campbell) is a ‘groupie’ hanging out with the odd group as her long- lost boyfriend, the motorcycle driving Eddie (Meatloaf) crashes the party. Unfortunately, the timing is all wrong and the Dr. does away with the party intruder as Columbia is left sobbing over her rebel boyfriend’s corpse.

Eddie crashes the party in "Hot Patootie, Bless My Soul"



"The Floor Show"

In all of this mayhem, Brad and Janet encounter their college professor, Dr. Everett Scott (Jonathan Adams) who, coincidentally, ends up at the castle in the midst of tracking down Frank-N-Furter and his house servants. The plot thickens as it is revealed that Frank, Riff- Raff and Columbia are from the planet of Transsexual in the galaxy of Transylvania and are on Earth to explore the humans' curious forms. Frank will not have his plans thwart with as he uses the lab’s Medusa Transducer, transforming Brad, Janet, Rocky, Columbia and Dr. Scott into statues! Once released from their statued state, the group awaken only to be forced to perform a cabaret show with Frank as the ring leader.

SPOILER ALERT:The performance is soon interrupted by Riff- Raff and his sister, Magenta, as they form a coup with plans to return to their home planet. In the rebellion, Columbia, Frank and Rocky are left dead as Brad, Janet and Dr. Scott are let free as the castle breaks from its grounds and takes off as one giant spacecraft back home… leaving the survivors ‘crawling on the planet’s face…some insects called the human race’.

Riff- Raff and Magenta

VIEWS:

1981's SHOCK TREATMENT

So, what would normally develop from a hit that isn't expected to be a hit? How about a sequel? Richard O'Brien was asked to pen down, what he called an "equal", to ROCKY HORROR and in 1981, SHOCK TREATMENT was released. The film would carry on with the further exploits of Brad and Janet, who are now married and live in the reality- TV world of Denton USA. Some ROCKY HORROR cast members returned, playing different rolls this time including O'Brien, Nell Campbell, Charles Gray and Patricia Quinn.

The original SHOCK TREATMENT trailer from 1981!

Both the musical play and film have been used as grounds to allow freedom of expression… both to the gay and straight community. People of all walks of life, with different backgrounds and cultures, sexual and political preferences… have all banded together to celebrate and enjoy a simple, if not silly, musical- comedy- horror show that, 36 years later, still packs the midnight shows or can be enjoyed at home with its DVD and Blu- Ray releases! ‘Don’t dream it…be it!'

As always, we welcome your comments and ideas! Please feel free to chime in as we always look forward to hearing from you! Until next week, when we say...SEE YOU NEXT WEDNESDAY!

Have you visited the official CINEMA: COUNTERPOINT page on YOUTUBE? Check out classic and contemporary trailers, scenes and other great trips down memory lane! Just click the link and check out the "Favorites" on our site! Enjoy!

http://www.youtube.com/user/cinemacounterpoint?feature=mhee

JER'S TURN: REMEMBERING VINCENT PRICE 1911 - 1993

JER: Cinema: Counterpoint tries to listen to its readers and we openly request any thoughts and suggestions for future blogs. An idea for an October/ Halloween- based page came by way of reader Jacqueline from Imperial Valley, CA, when she personally requested that we paid homage to one of her macabre icons, Mr. Vincent Price! The time is right, so sit back and relax as we visit the life and times of Mr. Vincent Price.

1938: SERVICE DE LUXE

Born Vincent Leonard Price Jr in St. Louis, Missouri on May 27, 1911, Price had an eye for adventure when he began traveling through Europe at a very early age. During his travels, he discovered that he had a love for acting… in just a matter of a few short years, he made his screen debut in 1938 in SERVICE DE LUXE. The theme was that of a comedy… a completely different type of genre than the one he would best be recognized for!

Steady work would soon follow as Price would begin taking on more notable roles in such films as TOWER OF LONDON (1939), THE HOUSE OF SEVEN GABLES (1940) and THE SONG OF BERNADETTE (1943).



THE THREE MUSKETEERS

In 1948, Price would star in one of the biggest films from MGM of its time: THE THREE MUSKETEERS. Acting along side such Hollywood royalty like Gene Kelley and Lana Turner, Price would play the villainous Richelieu. An odd piece of trivia, as referred to in the original Dumas novel and in countless versions of the film as a Cardinal, MGM avoided the title as to not offend potential controversy with Catholics.

Countless roles, in both film and television, would give Price steady work. It would be 1953 that one of his most iconic characters would take shape as Prof. Henry Jarrod in HOUSE OF WAX. Originally released as a 3-D film in theaters with a cost of under $700,000.00 dollars, it was considered a big box office draw and would begin to shape Price into the roles within the macabre and thrillers that audiences would best attach him to…

DeMille's THE TEN COMMANDMENTS

 In what is considered in my opinion to be one of the best films ever made, Vincent Price would appear in the grand Cecil B DeMille epic, THE TEN COMMANDMENTS. The character of Baka, a Hebrew- born who became an ally to the Egyptians during the time of Hebrew slavery, was played with shrewd and classic villainy. Yet again proving himself worthy amongst the ranks of classic actors like Edward G Robinson, Yvonne De Carlo, Yul Brynner and Charlton Heston… Price continually kept re- inventing himself. He was an actor ready to take on a multitude of various roles no matter what the character called for! The film won Best Picture in 1956.



THE FLY (1959)


1958: Francois Delambre, an industrialist living in Montreal, is drawn to a mysterious world straight out of the pages of a science- fiction novel. His brother Andre, has created a teleportation device that would change the methods of travel forever. Something is not right, however, Andre doesn’t seem to be himself… in fact, he takes on the mannerisms and appearances of THE FLY! The film would become one of a few that would be synonymous with Price in the realm of horror and thrillers. Both the storyline and Vincent Price would burn into the imagination and fears of a generation… so much so that Price would revisit his role in its sequel, RETURN OF THE FLY (1959).

The formation of an era into sci- fi and horror films was at the cusp for the late 1950’s and moving into a new decade within the 1960’s. Other films to follow would include HOUSE ON HAUNTED HILL, THE BAT and THE TINGLER: all released in 1959 (along with RETURN OF THE FLY). A banner year for Mr. Price, as he would be the face best recognized by screaming fans and thrill seekers alike!

The spine- tingling 1959 trailer for HOUSE ON HAUNTED HILL!

HOUSE OF USHER would kick- off 1960. Directed by B- film aficionado Roger Corman, the story would be based on the classic novel by Edgar Allan Poe about a family curse that haunts the Usher family. Price would return to working with Corman again in 1961 for THE PIT AND THE PENDULUM… also yet another story by Edgar Allen Poe. This time, Price would be surrounded by the mysteries of Spain during the Inquisition days and foreboding castles that hide truths never to be seen. The Corman/ Price duo would go on to strike lightning again in their next effort, TOWER OF LONDON in 1962, this time playing Richard III as he is haunted by the spirits he did away with in order to be crowned King of England!

Karloff, Lorre and Price: THE RAVEN

1963 would bring one of the better known and more successful collaborations between director Roger Corman and his famed star, Vincent Price. THE RAVEN, loosely based on the poem by Edgar Allen Poe, melds this fantasy- horror film with the undertones of humor. Dr. Craven (Price) goes against fellow magician Dr. Scarabus (played with feverous delight by Boris Karloff) in an all- out battle for the respects of a helpless magician (Peter Lorre) and a beloved Leonore (Hazel Court) was thought to be dead! The film created quite a buzz with great box office numbers to boot.

Not missing a beat, Price worked again with favorite film director Corman in 1963’s THE HAUNTED PALACE based on a story by H. P. Lovecraft. Price would play Charles Dexter Ward who arrives within a small village to claim the inheritance of a house that his ancestor died in 100 years ago. Returning back to the original formula, Corman would base his next film from yet another Poe story and cast Price in the 1964 horror/ thrillers, THE MASQUE OF THE RED DEATH and the lesser- known THE TOMB OF LIGEIA.

Egghead from TV's BATMAN

Moving into the late 1960’s proved to be another experimental journey for Price as he began doing more dated comedy- romp movies and a long string of television work with appearances in such shows as THE BRADY BUNCH, LOVE AMERICAN STYLE, GET SMART!, MOD SQUAD, THE BIONIC WOMAN, THE LOVE BOAT, F TROOP, VOYAGE TO THE BOTTOM OF THE SEA and the notable character “Egghead” in BATMAN! His focus on light films and heavy television is a strange twist for Price. Maybe he was tired of those long hours in front of a camera that can be more demanding for film than for television. Maybe he liked the idea of guest appearances in a variety of television shows rather than a movie. These are mere speculations with no real truth or known facts to these opinions.

Films were not too far behind him as he still made the occasional horror/ thriller from time to time. In 1972 he would star as the lead character in DR. PHIBES RISES AGAIN. He also performed in B- Movies like THEATRE OF BLOOD (1973) and MADHOUSE (1974).

Television and small films kept him busy well into the very early 1980’s, but a pivotal moment in his career would rejuvenate Mr. Price into the minds and hearts of an entirely new and different generation! A very young artist, who had recently been hired to work for the Walt Disney animation department, was curiously working on a short stop- motion animation project about Mr. Price. The writer and director of this interesting homage was Tim Burton and the project was aptly entitled VINCENT. Price would not only serve as the inspiration for the short, but provided the narration of this black and white cult favorite. Later on in Price’s life, when he was asked to reflect on VINCENT, he described it as: "the most gratifying thing that ever happened. It was immortality - better than a star on Hollywood Boulevard."

Here is the complete animated short: VINCENT!

Yet another interesting avenue traveled by the unpredictable Vincent Price was his ‘rap’ talk through the midpoint of Michael Jackson’s immortal classic hit song “Thriller.” His performance marked another defining turn for the actor in 1983.

GREAT MOUSE DETECTIVE

VINCENT worked as a new opportunity to work with animation of various styles and types. He lend his voice and image in 1985’s THE 13 GHOSTS OF SCOOBY- DOO to which he played the character named Vincent VanGhoul! More prestigious was Price’s voice work as Professor Ratigan in Walt Disney’s 1986 adventure- animated feature, THE GREAT MOUSE DETECTIVE. It is said that Price once said that the role of Ratigan was considered his most favorite… he even had two original songs written for him to perform!

Burton, Price, Depp: EDWARD SCISSORHANDS

What would almost convey as the perfect role for Price to play, director Tim Burton requested his appearance as The Inventor of 1990’s EDWARD SCISSORHANDS. At the time of actual production, Price was already very ill with emphysema and was suffering from Parkinson disease, which had prematurely shortened his originally intended lengthier role.

VINCENT PRICE 1911- 1993

I had the distinct honor and pleasure to be one of a select few who was present during an exclusive one- on- one interview at the 1990 presentation of “FANGORIA’S WEEKEND OF HORRORS” in Los Angeles, CA. The evening was hosted by film director Joe Dante (GREMLINS) who interviewed a very frail Vincent Price. The night provided many joys and memories for both Price and his fans as he reminisced about his life and the films he had worked on throughout his career.

Vincent Leonard Price was laid to rest on October 25, 1993 at the age of 82. His ashes were spread across the California coast of Malibu.

One of the last quotes given by Mr. Price was: “I hate being old and ill! Don't get old if you can avoid it!"


SONG OF BERNADETTE

 JOHNNY CHAZZ: In response to our reader's request this week, we examine the life and times of Vincent Price. Having read what you have written here Jer, I will simply tack on a few "extras" to round out this weeks' blog.

"Song of Bernadette" (1943) may have been the film that kicked things off for Vincent Price, although it did not exactly make him a household name at the time. Still, his performance was spellbinding here and this film should be considered one of his best.

Now, other Vincent Price films worth honoring would include:

"House on Haunted Hill" (1958) - undoubtedly one of his most recognizable films in the genre of horror. The effects are a bit thin, but the storyline and the suspense factor make it a classic.

"The Fly" (1958) - memorable on all counts even though some of the scenes are almost a bit humorous when looking back.

"The Pit and the Pendulum" (1961): A creepy Poe work, but definitely a classic Vincent Price film.

"House of Wax" (1953): How can this not be included in the list? The film has a definite creep factor and the shock element reaches out to the audience on all levels. Price makes his debut in an all-out horror role here.

An interesting clip of Tim Burton hosting Price's HOUSE OF WAX

Earlier films of note also included: "The Raven", "The Tower of London" and "The Fall of the House of Usher".

In 1964, Price starred in the wonderful "Masque of the Red Death" which may have been one of the best films and performances of his career.

Price involved himself with primarily horror films in the 1950's and 1960's, only to reach the 1970's and become involved in films that almost cast him as a "spoof" per se. anything and everything. Later in the 1980's he would appear in Michael Jackson's MTV video "Thriller", and work a small role in Burton's "Edward Scissorhands". The bottom line is that Price's best years were during the 1940's - 1960's and proved that "horror" was what he was suited for best.

Have a listen to the uncut 'rap' by Price for Jackson's THRILLER!

Price's final major film role was actually a memorable one and a definite tangent from his earlier works. "The Whales of August" (1987) featured Price with Bette Davis and Lillian Gish in a film that was vastly underrated.

Price passed away in 1993 and we pay homage this week to his career, his lifetime achievements and his dedication and devotion to the horror genre.

JER: Thank you, JC, for catching some details on some missed points from my part. I felt I couldn’t completely handle it all myself and selfishly leave you nothing to talk about!

Tune in next week when we put the lid on the coffin of October/ Halloween/ Horror topics leaving the last nail to be hammered in by JOHNNY CHAZZ. SEE YOU NEXT WEDNESDAY!

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